The composer, producers and writers will meet to discuss musical direction in relation to the film project at hand. Musical examples will be examined for their relevance. A production schedule will be agreed upon based on the needs and the technological requirements of the project. With thematic and emotive analysis of the undertones of the script completed, the composer can then gather a sound pallette over which ideas can be expressed. This is sometimes referred to the beginning of the creation process.

Based on the size of the project, a production directive will be crafted to suit the evolution of the film project. This may involve hiring musicians,ensembles, assistants and appropriate studio space. In some cases parts can be programmed into a musical sequencing program. Virtual Synth Orchestral software can follow italian classical notation with some degree of similtude if the composer chooses to spend considerable time choosing appropriate sample, with careful consideration for audio sample choices, articulations and phrasing.

A)Full Budget Classical Orchestration pre-electronic instruments.

A specific template would need to be created to mimic the orchestra as it sounded during the time at which the music was first played. A sequenced version can be assembled on the computer to serve as a model. This will open the initial creative research phase where the composer collects sonic colors from as many references as possible.
Here is a list of Production tasks that will be required:
i)Computer session creation in Digital Performer.
The architecture of the piece will be assembled and organized. This included the instantiation of virtual instruments.
ii)Each note will need to be fed to its assigned virtual instrument. During or after each performance, key switch data will need to be implemented to trigger the appropriate samples. Additional samples may need to be superimposed or replaced to add more accuracy.
iii)The demo will be mixed and mastered.
Similar to costume, sets and locations in film, sound can dress the scene amplifying emotions, fears, pleasures, transcendence and love. Assembling the appropriate musical team is essential in this process. The music will need to be transcribed though a variety of software solutions to prepare it for a Live Orchestra. However, there is a great deal of labour involved to ensure that the computer data translates well with Italian Notation. Several additional hours may be required. Once those hours have passed, and any rewriting request have been agreed upon, an orchestra can be hired from a variety of sources in Los Angeles, Boston, the Czech Republic, Mumbai and London.
The recording of the orchestra will be mixed together with the picture and additional sound design during subsequent sessions.

B)Modern Electronica with Orchestral References
Special consideration will be taken to reference sounds to modern history and cultural influences.
For example, the client wishes to do an action movie about the rise and fall of a modern day dictator. The creation of a contemporary sound pallet may serve the trailer well if the trailer emphasizes the end of the tyrant. However, if the writers wanted to focus more on the “glory” that the protagonist achieved, the sounds can transform from one era to the next culminating into the the final moments.

Production will be similar to A with additional programmed parts and musicians.

Fees are a combination of an upfront fee, an hourly rate to be paid every 2 weeks and a finishing fee. All music will be owned by the composer unless a different arrangement is forged.